Podcast听写来源NP福睿斯的 “Pop Culture Happy Hour”
特别欣赏他们对各类影片/影视剧/文化娱乐的斟酌 一方面学俄文也是为着和同事聊天时 能够有高档的谈话的资料甩出去..
葡京网上开户：Coming-of-age, First Love, Helpless Obsession — Podcast。第叁重播Call Me By Your Name是在SonyStudios的放映室。坐在COO右侧小编一身紧绷，不恐怕完全沉浸在那之中。后来读完随笔，认为是“相爱的人絮语”的最佳讲解——这种能够敏感细腻的青春感令人扑朔迷离（纵然后来剪辑AndreAciman的搜罗，让给对这个人非常不满）。后来第三次在家里看，被全然引发不能够自拔，一贯沉浸在OST里。那几个Podcast让本人更加好能用言语去解释自个儿对那部片/书的接头，多谢商议家们。
Interview: Armie Hammer, Timothée Chalamet and Luca Guadagnino on What Made “Call Me By Your Name” Such a Special Film
Director Luca Guadagnino with Timothée Chalamet and Armie Hammer. Photo
courtesy of Sony Pictures Classics.
Many of you might remember the old and beloved film called “Love
Story” written by Erich Segal (also based on his novel) and gloriously
directed by Arthur Hiller. As a quick reminder – it is a tragic love
story about Jenny and Oliver who come from different backgrounds.
Their journey begins with high anticipation of a beautiful life ahead
of them but is cut short tragically.
There is a reason why I have reminded you of Hiller’s film before
writing about Luca Guadagnino’s “Call Me by Your Name”. There are
several parallels I can draw between these two films: both are based
on novels; both have unforgettable soundtracks and splendid
storylines; flawless performance in both films shapes subtly the
relationship between two individuals. Once you watch Oliver and Elio
(portrayed by Armie Hammer and Timothée Chalamet) on the screen, I’m
sure you’ll wish that all love stories are told in the same
葡京网上开户：Coming-of-age, First Love, Helpless Obsession — Podcast。I did not mention anything about the gender of the characters on
purpose. This film is shot and narrated in such a way that it does not
matter at all. “Call Me By Your Name” talks about love and respect.
And I believe prejudices will always have a shorter life to live.
Every human being is entitled for a right for love and to be loved.
Nobody can take it away – now or ever. Thanks to “Call Me By Your
Name” for capturing it in such a humble way.
During Toronto International Film Festival, I had a great pleasure to
attend a round table interview with Luca Guadagnino – the director of
“Call Me By Your Name” and the actors Armie Hammer and Timothée
Chalamet. I had a chance to ask questions to give me a better idea
about behind-the-scenes of the most fantastic and magical film of the
Swiss Army Man directors: how we accidentally made a gay necrophilia
葡京网上开户：Coming-of-age, First Love, Helpless Obsession — Podcast。主持人 Linda Holmes; Glen Weldon; Steven Thompson; Bob Mondello
有三个缘故让自家在写关于LucaGuadagnino的“用你的名字呼叫作者”从前提示您Hiller的电影。小编得以在这两部影视中找到两种相似之处：都以依据随笔; 都有令人难忘的配乐和美妙绝伦的典故剧情; 两部影视的精粹绝伦表演神奇地作育了多个人里面包车型客车关系。一旦您在显示屏上见到了奥利弗和埃利o（由Armie
在孟买国际电影节时期，作者特别欢跃地在场了与Luca Guadagnino–“Call Me By
Timothée Chalamet as Elio and Armie Hammer as Oliver. Courtesy of Sony
MOVIEMOVESME: My first question is to you, Me. Guadagnino. Luca.
What has inspired you to adopt André Aciman’s novel into a film?
Luca Guadagnino: I think the reason of making this movie for me
was really and literally to making with the people I decided to make
it. And not because the book didn’t inspire me but my approach to the
book was the one from perspective of producer. And I was a producer
until I became a director, but I was a producer for many years. So I
never had this kind of tension to all the book, like I want to tell
this story. And then when thing collided together, and they said, do
you want to do this movie and I said yes if I can do it with Timothée
Chalamet and Arnie and Michel Stoolberg and the rest of the cast. So
it was about for me the possibility of being with them.
MOVIEMOVESME: And, Timothée, what kind of work you both needed to
do in order to maintain that great chemistry which turned into one of
the best and greatest love story?
Timothée Chalamet:葡京网上开户：Coming-of-age, First Love, Helpless Obsession — Podcast。 Thank you. There was a massive amount of
vulnerability and openness and exposing yourself and emotions and all
of that. There was such a requisite amount of that that was needed to
make this movie work, that it honestly wouldn’t have worked if we
didn’t have the immense feeling of safety and protection on set with
each other, with Luca, with the crew with everybody around. There was
never anything happening that felt unsafe or felt like it violated our
trust of, I mean the entire process felt like we were not only in the
best hands that we could possibly be in, but that we were also taken
care of and protected in such a way that not only did we feel
comfortable in sort of opening ourselves up and exposing that, but I
mean, honestly we wanted to.
葡京网上开户：Coming-of-age, First Love, Helpless Obsession — Podcast。MOVIEMOVESME: How did the shootings go? How was it to shoot a film
Timothée Chalamet: The opportunity to shoot in Italy, which on
another project would be the biggest reason to do something, but on
this was almost the smallest, because above that was the opportunity
to work with Luca and because I had seen “I Am Love“ before I even got
the chance to meet with him. And then after being attached to “A
Bigger Splash” came out during that period, the opportunity to work
with Armie Hammer, who people of my generation, the social network,
that’s a really formative film Autzman Swartz material that holds such
a special place in so many people’s hearts and James Ivory’s
screenplay and getting to work with all of these different facets. And
trusting Luca from films past incorporate just the coolest and most
innovative ideas in people.
It wasn’t a surprise, and yet it was an awesome surprise when he said
that Sufjan Stevens had made music for the film because Sufjan, again
for people my age – I guess people any age – he’s a brilliant,
brilliant musician. So to have his music for the film and have it
while I was shooting during the last scene, we had it playing while we
did it, it was challenging, and yet it all went very smoothly.
葡京网上开户：Coming-of-age, First Love, Helpless Obsession — Podcast。MOVIEMOVESME：枪杀是怎么发生的？怎么样在意大利共和国拍录摄像？
- 作者猜他们是另外年龄的人 –
MOVIEMOVESME: People often ask questions about filming the love
scenes. I wonder how it feels the moment when the director calls
“cut”? How the two of you reacted?
Armie Hammer:We’d keep going.
Armie Hammer： 大家继续。
MOVIEMOVESME: You’d keep going? I was thinking there’d be an answer
like that in there somewhere, but I can imagine it’s a complicated
thing. You must have a fairly loose relationship on set with somebody
that you have to pretend to have a deep relationship with.
Armie Hammer:There’s a lot of intimacy in this movie, but the
intimacy that seemed harder or more challenging wasn’t the physically
intimate stuff, it was the emotionally intimate stuff. It was being
face to face with someone on camera with a camera extremely close and
feeling like you are in a place where you can be vulnerable, and you
can … you know, it’s funny, if you’re making a movie and you have an
outside perspective of it, it probably looks completely ridiculous.
Everything that’s going on, people rushing around, people this and
that, people yelling out terms you have not idea what they’re saying,
what they actually mean.
This was an experience where I remember when we had intimate scenes
between us, whether they be in bed or wherever, the thing that really
was a big moment for me was we finished one of the takes and Luca
called cut and I remember looking around, because I wasn’t wearing any
clothes, and I remember looking around and sort of feeling exposed.
And I looked over at the sound guy and he was just holding the boom
like usual and then I looked over and the script supervisor had her
book like usual and the guy at the camera was doing everything like
usual and the focus boy was doing everything like usual and it hit me
this is doing our job. This is the same as that scene, that is the
same as that scene, let’s do it again. And then-Yeah. But more than
that it was like I’m so happy this is all part of this beautiful
experience that we’re doing. I remember at one point we finished
shooting a scene and someone was like do you want a robe and I was
like no, I’m okay. And they were like are you sure? Yeah, I’m okay.
You know you just … any fear, anything that was built up by it was all
in my head and as soon as we started it all went and away and just
became this beautiful, natural part of it.
Fancy catching a moving, beautifully shot drama about loneliness, shame
and the need for human connection this weekend?
G: (Film and book) They’re both about longing. They’re both about this full-body ache of
first initial obsession with somebody else. Romance is not my jam
because there are only so many ways two people can come together. That’s
true in life. It’s certainly true in movies because it’s just a matter
of which cliche you lean on, right? It’s the grand, sweeping, romantic
gesture, the love triangle, the funny friend, the meet-cute… All of that
stuff. That’s in romance in particular. That’s true in any genre — just
stuff you have to lean on, a storytelling infrastructure. The reason
this film, and this book hit me so deeply is because of representation,
not just because there is queer desire on screen — and I experience
queer desire — but representation has
an aesthetic quality to it. When you start to tell the story that has
not yet been told, you’re forced, as an artist, to innovate, to subvert,
to interrogate, to make something new. And it’s these two
characters, in this very specific time, like they do not have access to
the storytelling tropes that we’ve seen millions of times — ain’t
nobody standing outside, nobody else’s outside the window with a boombox
in this movie because they can’t. (The story sets in ‘83 in a very Roman
Catholic Italy.) Everything that is communicated between these
characters, certainly at the beginning of this film, has to be coded,
layered, nuanced. And that is just inherently more interesting.
Representation means better art.
Armie Hammer as Oliver and Timothée Chalamet as Elio. Courtesy of Sony
MOVIEMOVESME: Mr. Guadagnino, could you tell a bit about your
collaboration with James Ivory? Did you approach him or how did the
Luca Guadagnino: I’ve known James for many years and we’re friends
before being collaborators and it was a chance of life. Like he was
coming to see me in Crema many times and we both were involved into
this movie as producers and then one day because the movie wasn’t
happening without directors, we said why don’t we try to imagine the
way we would do it and it was like snapping peas at the kitchen table
that lead us to writing this great in really almost a moonlighting
fashion. It wasn’t a job it was the chance to be together in doing it.
I grew up really worshiping artists in my life. I come from a simple
family in Palermo, but I always dreamt of meeting the artists I adored
and I admired and one of the reasons why every time I complain with
something for myself about my life I have to be severe with myself and
tell my self you are luck because you have the chance and the luck to
have fulfilled your adolescent dreams of meeting the artists you love.
And even to dram making things together, so it’s great, it’s a
MOVIEMOVESME: How important is the period to this story? Not just
to the acceptability of the relationship, but also in regards to the
Luca Guadagnino: But I don’t think this is a movie in which we are
putting a light on acceptability or forbidden love. I think that any
movie lives in the eyes of who watch the movie and in their way of
watching the film, so I don’t want to censorship anyone perspective,
but from my perspective, this is not a movie about forbidden love at
all. First of all, I happen to be a person who enjoy the physical
company of a man in my personal life. And so there is nothing
forbidden about that to me and so it’s the most normal and accessible
and suiting thing I can happen to do in my intimacy. So it’s foreign
to me to love or to make love to a man it’s forbidden. And at the same
time, I don’t think that Elio and Oliver will live in the space in
which they are living, hiding. If they put themselves into an alley
instead of putting themselves in front of a large group of people
staring at them is because they save very much the moment of their
intimacy. So the idea of this film and I would say also the idea of
Asimov’s book doesn’t lie in the cannon of the forbidden love and the
constrictions of society.
MOVIEMOVESME: How did you choose the actors or how did you come on
board because the chemistry is so obvious…
Luca Guadagnino: Because I had great chemistry with them. I’m
ignorant enough to think that if I have great chemistry they will have
great chemistry between them. But I wasn’t jealous of their chemistry.
Director Luca Guadagnino. Photo courtesy of Sony Pictures Classics.
MOVIEMOVESME: I was wondering, people refer to it as the gay love
story movie. Do you wish people would take away that tag and see it as
a summer love story? I love that Luca said in the press conference –
it might be a bisexual movie perhaps. And is that important in the
time where in America the president is going backwards, especially in
these terms of gender identity, sexuality, so forth?
Luca Guadagnino: I think the president is a bitter person who is
thinking of his own business all the time and he doesn’t have the
poetic hope to see how beautiful is it to be unbiased and able to love
no matter what is your gender. So I think in this way, maybe this is a
political movie and it’s a sort of invitation not to be like this
president. Probably should put that in the bio.
Also want the movie to be very, very funny? And to preferably feature a
flatulent corpse with a love-guided compass erection, played by former
boy wizard Daniel Radcliffe?
L: The film to me is so tone-forward, if I can say that, rather than
being plot-forward or even dialogue-forward, it is tone-forward, it is
tone-forward. Does it have kind of the same quality as the book in that
MOVIEMOVESME: To the actors, what is the biggest thing that you
learned from each other during the filming?
Armie Hammer: Stop me if you want to. Timmy has such a rich and
beautiful almost complicated inner life that is so vibrant and so full
and he’s able to keep it just under the surface in such a beautiful
way where … it almost feels like while some things he is aware of as
we all are, it’s almost like he’s just not aware of some things. And
that openness and honesty is really, it’s great. I feel like maybe
sometimes the tendency might be to try to guard yourself or protect
yourself or hide. And I think watching Tim live in the scenes and
watching it affect him, it was almost like an acting exercise.
Timothée Chalamet: Ah, man.
Armie Hammer:Just hope my breath was goo.
Timothée Chalamet: Yeah. I said this before. I feel like what
I’ve learned with the great actors I’ve worked with, whether it’s
Armie Hammer or Steve Carell or Louis Rabe, those lessons are almost –
they’re hard to verbalize. It’s almost like subconscious or something.
You take on the habits of other actors or the way I saw Michael
Stuhlbarg take notes in this film, or the way I see Armie rehearse a
scene before we go to it, those things stay with you. For me as it
relates to Armie, the way he carries himself as a man, the way he
carries himself as a father, the way he carries himself as a husband,
it’s been such a crucial roadmap for me. The cliché of this business
is that those road maps aren’t really there and those that are there
are negative or devastating in some fashion. And I’m so lucky, you
know, I did a film in LA this past year. LA’s never been a place that
I feel very close to, but because Armie lives there, I felt like I was
welcomed in with open arms and was introduced to a number of friends
now that I wouldn’t have without him. And also, like I said, as a
husband, again not to put pressure, but there is such love in this
marriage between he and Elizabeth and there’s such love between Armie
and his daughter, Harper, it’s very inspiring for me. It gives me hope
for myself that love, being in love, marriage, these things don’t
necessarily have bad or tragic or sterile endings; that these things
can blossom beautifully the way it does in “Call Me By Your Name”.
Luca Guadagnino: I wanted to say something about Armie as a
collaborative director. You can go up. Armie is a great catalyst. He’s
like my partner in making sure the movie’s following a lead of
optimism and concentration and generosity, I think. Not to take
anything off of you my love, but it’s just that I found that
partnership in making the movie with Armie, apart from the rest of
which is him acting as Elio.
Armie Hammer： 只希望本人的透气是咕。。
哈默依然Steve Carell依旧路易斯 Rabe，这个学科都大致 –
他们很难用语言表明。它差不离仿佛潜意识或任李新发西。你接受任何歌星的习于旧贯，或许自身来看迈克尔Stuhlbarg在那部影片中著录的艺术，可能自身看到Armie在上台前排练五个情景的方式，那一个东西就在你身边。对笔者来讲，因为它关系到阿米，他把温馨视作一个老公的点子，他把团结当做阿爹的秘诀，他把本身作为孩子他爸的章程，对本身来讲那是三个格外重大的门路图。那项专门的工作的陈词滥调是，那么些路径图并非真的存在，那多少个在一些地点是负面包车型大巴或破坏性的。小编很幸运，你知道，笔者在过去一年在法兰克福拍过一部影片。华沙从不是一个笔者感觉特别相近的地点，可是因为阿米住在这边，作者感觉本人像打开单臂受到招待，以往早就被介绍给一部分仇人，未来作者不会并未有她。还或然有，就好像自身说的那么，作为二个相恋的人，屡屡回不要施压，可是她和Elizabeth之间的这种婚姻存在着这么的爱，阿米和她的闺女哈珀之间有这么的爱，那对自己的话极度振奋人心。它给了自家盼望，爱情，恋爱，婚姻，那一个事物不必然有坏的或磨难的或无菌的后果; 这一个东西得以像在“通过你的名字致电笔者”中那么开花。作为贰个相爱的人，再度不要施压，但是她和伊Lisa白之间的这种婚姻存在着这么的爱，何况阿米和她的丫头哈珀之间有诸如此比的爱，那对自己的话非常振奋人心。它给了自家盼望，爱情，恋爱，婚姻，这几个东西不必然有坏的或祸患的或无菌的后果; 这几个东西得以像在“通过你的名字致电小编”中那么开花。作为三个情侣，再一次不要施压，不过她和Elizabeth之间的这种婚姻存在着这么的爱，何况阿米和她的外孙女哈珀之间有那样的爱，那对自家的话极度振奋人心。它给了自家盼望，爱情，恋爱，婚姻，那几个东西不必然有坏的或苦难的或无菌的后果; 这个东西得以像在“通过你的名字致电小编”中那么开花。
MOVIEMOVESME: So I wonder, as you were trying to learn about your
characters – Elio or Oliver – what do you think they found in each
other that they were so fond of? What made them fall in love with each
Armie Hammer: Go ahead, Timmy.
Timothée Chalamet: I think it’s … I think it would be almost
indescribable. I don’t think it’s necessarily a shared activity or a
shared passion, not that those are the requisites of love, but
sometimes they are. I don’t think that’s necessarily the case here.
Correct me if anything I’m saying is not of vision, but I think it’s
almost more organic. It just flowers. One of my favorite part of Andre
Aciman’s book, and we did it in the film too, is that Elio’s reaction
to Oliver at first is that he’s actually a little put off and it’s
like who’s this guy who’s walking around saying later. And from that
place it lands in a romantic spot, but it doesn’t begin there. So,
again it would almost be difficult to say what it was that brought
MOVIEMOVESME：所以自个儿想知道，当您筹划了然你的剧中人物 – Elio也许奥利弗时 –
If so, the film you’re looking for is Swiss Army Man, the brilliantly
bizarre new movie from first-time feature directors Daniel Kwan and
G: If anything to me, the film feels more swoony and romantic because
the book is told from Elio’s point of view. He is a very interior
character. He is introvert, and he thinks a lot. The entire book is
about the signals that he’s sending off that he thinks he might not be
able to getting back. There’s a whole lovely runner in the book about
how he starts to impute all these motivations onto the color of bathing
suits that Oliver is wearing that day. It feels so true. Now, a lesser filmmaker, a lesser screenwriter
would have shunted all of that work, all that lovely prose, just done it
in voiceover. But instead it’s all happening on their faces. It’s all
happening in the acting. It’s a big gamble, but it pays off
hugely. You just feel the fact that they’re not connecting when
they desperately want to.
Washed up on a deserted shore, Radcliffe’s corpse, Manny, comes into the
life of Hank (Paul Dano) at a crucial moment: the lonely shipwreck
survivor is about to kill himself. After Hank realises that he can use
Manny’s gas-propelled body as a jet ski to escape the island, he decides
to keep him around – and a tentative friendship between the two forms,
as Radcliffe’s character slowly becomes more “alive”, regaining the
power of speech.
B: I saw the movie and thought this is wonderful, and I’ve got to read
about these characters. I got like 100 pages in, and I was still saying
to myself, this is not possible. You cannot turn this into a movie. This
wouldn’t work because there’s almost no dialogue in the book. Nobody
says anything. Nobody connects for the longest time. Which makes this
movie fascinating. It’s gorgeous to watch. I think in a lot of respects,
it does the book a great service in making you wait, making you wait the
way that Elio has to wait in the novel for a sign one way the other that
We caught up with the directors behind Swiss Army Man – who are
credited, collectively, as “Daniels” – to find out how they made this
year’s strangest movie.
S: Going into it as a fairly cold audience member, I watched it especially at first in
anticipation of conflict. You’re watching a gay love story unfold in
1983, and as this film unfolds, there is no mention of the AIDS crisis.
There is no gay-bashing. There are no disapproving parents. There is no
judgy teenagers. It is a love
story that is allowed to unfold in a petri dish, and just be about
itself, and be this very touching and romantic story. And the
fact that it’s a story without conflict, really does mean, that relies
very heavily on tone, but it does so beautifully. I thought the
performance of Timothee Chalamet, as Elio, is such an incredibly
impressive performance. It’s not just how much acting he’s doing with
his face. There is a physicality to him in the love scenes that spoke to
my… There’s this almost kind of sheepdoggish quality where he’s
bounding around Armie Hammer, kind of climbing on him awkwardly, and
then kind of pushing him away, and then grabbing at him… It’s like you
have all this physical energy, and all this, you can say lust, but it’s
also just excitement, and that plays out in such a subtle way, but it
was also I saw something very very universal in it, and was really
smitten with it.
Why did you decide to make a movie about a farting corpse? Where did
that idea come from?
B: Because the barriers to them getting together are cultural, but
they’re also internal. They’re external, but also hormonal.
Daniel Scheinert: It’s funny. A lot of the time our ideas come from very
circumstantial kind of situations. So when we first started out, making
music videos together, we’d listen to a song, and think “Okay, so which
of our friends can we cast in this? What have we always wanted to do?
What are our resources?”
L: One of the things that I like about the Armie Hammer performance is
how opaque Oliver is early on. He has a kind of cool guy glibness, or
superficial glibness I should say, that really makes you wonder, is he
paying attention to Elio at all? Is he just a sort of the guy you would
fall in love with at summer camp who would never notice you? They make
it feel plausible, that it could be that, at the beginning. One of the
things I really like about it as a love story is it’s very common in a
love story for there to be one person who’s being fully forthcoming in a
kind of swoony, aggressive way, and one person who is doubtful for
whatever variety of internal and external reasons. The way they play
with those dynamics without specifying to much, the way they play with
those dynamics between these two guys, where their hesitancy is, and
also how they navigate, getting to the point where they are even
acknowledging this is what they’re talking about. There is a scene that
they play around the monument. It’s so subtle how it’s done that you
couldn’t. If you try to explain on paper exactly what’s happening, it’s
all in the performances.
Daniel Kwan: There’s not ever any money so you have to be really smart
about what you’re going to do.
There is this age difference between Elio, 17, and Oliver, 24. This is
an age difference for a lot of people, including me, is uncomfortable a
little bit. It’s certainly something where you have to be very careful
about the circumstances particularly you’re trying to make sure that the
17-year-old is well cared for.
DS: Years ago, in 2011, we were going to Alabama, where I’m from, and we
were thinking about shooting a short film. And my parents live in a lake
town in North Alabama, and we knew that my best friend growing up had a
boat there, so maybe we could shoot off the boat, and there’s a big
G: Andre Aciman who wrote the novel. He could’ve written the story about
two 24-year-olds. He did not. Or made him an 18-year-old. This
discomfiture we’re experiencing with this movie is part of the energy of
this movie. The fact that Oliver is holding himself back. He’s doing
that for a reason, that creates this longing even more. It’s messy. It’s
intentionally messy, but we’re supposed to feel that. It’s about
coming-of-age, first love, that helpless obsession. And again, it’s
another obstacle. Oliver keeps saying, no, no, and eventually said Yes.
We’re conditioned by decades of
romantic narratives to want these two people to get together, and
the fact that one of them is 17 is messy. The story and the movie go out
of way to establish that intellectually at least they’re equals. Elio is
a very prodigious, precocious, smart, intelligent. It doesn’t mean that
they’re emotionally right. People who say, look, this is still an adult
and a teenager, have a point.
And so Dan pitched to me: “What if there’s a guy who’s stranded in the
wilderness, who finds a corpse and feeds it beans, and it farts across
the ocean while beautiful music plays and he cries?”
B: And it’s made more complex in the movie that it was in the book is
because Armie is himself not 24, he is 31. He reads older, and that
makes it visually tricky. Timothee Chalamet is 21, and playing 17, but
persuasively playing 17.
DS: I immediately regretted pitching. I was thinking “Oh no, this is a
H: But I think it’s okay to live in that place where this is messy. This
is a messy situation that’s part of the story that this is a messy
situation that’s one of the reasons that it plays out the way it does.
And I don’t think you have to feel like I’m totally comfortable with
this to hear the story and take the story and not feel like the story as
a story of exploitation of a teenager by an adult.
DK: It kind of became a recurring joke. The joke was that it was the
worst idea we’d ever come up with. We’d never make that and put it in
theatres across the world… And then it kind of grew. We started coming
up with more of a story. And we though, what if we took that really
stupid idea and poured our hearts into it?
G: I think it’s fascinating that this is a movie when you talk about it
as a messy love story. It is fascinating that it is a messy love story
entirely because of internal forces instead of external forces. It
really removes so many of the traditional external forces.
Once it turned into a buddy film – that when we really fell in love with
the idea and started devoting time to it. But that was a few years
S: That scene toward the end when they were in Rome and it’s deserted,
it’s the middle of the night, they were in the alley, happy, and horny.
We, queer audiences, are conditioned to
experience that, and then wait, wait for the bashing, wait for the
police, wait for disaster to strike. When we do this to
ourselves, when queer artists make queer movies, we still do that —
there is a punishment that has to come. And the fact that it doesn’t in this
particularly movie feels like nothing else than a gift. As much
as this film would come under criticism of depicting an adult and a
teenager, there a lot of gay critics who want it to be more sexually
explicitbecause Guadagnino is known for movies like “I Am Love” which
use sex scenes to characterize people. That’s one of his things. The
fact that we literally cut away to the wafting curtain as soon as these
two get together is just… I kinda wish the movie proves right up — roll
its trousers. Dare to eat the peach, like happens in the book.
At one stage, it seemed as if the movie was going to be a
traditional(ish) love story – Hank finds Manny, who helps guide him
towards the woman he adores. But as it went on, it became apparent that
it was something quite different – more about the relationship between
the two male characters, and about loneliness. Was that always your
B: My experiences are always floating away to the curtains, uniform, and
my experience as a gay man. I think those beautifully wafting curtains
are part of the beauty of this movie that has everything to do with that
statue coming up out of the deep and looking like it’s just come up from
the swim, or take cradling a fish. There is this fish that is brought
in. And the guy who has caught it brings it in and shows it to Elio and
then takes it to the woman who’s going to cook it, and she cradles it.
She holds it in her arm as if it were a baby and takes it into the
kitchen. And I just thought, that is breathtaking. It is so beautiful.
There are scenes in this movie that are in the movie exclusively to be
gorgeous. It’s just gorgeous. It makes
you feel like you’re in Italy in the middle of the summer. They
actually spent 11 years trying to make the movie unable to do it because
they encountered some difficulties in the summer, and it really can’t be
filmed in the Fall in Italy. It just wouldn’t work. My favorite tidbit
of the movie is that at one point the person who’s going to play Oliver
was Shia LaBoeuf. That would make such a different movie.
DK: Well, in some ways, we thought we were making a more conventional
guy trying to get back to his girl story. But the more drafts we wrote,
the more we realised… it sounds stupid when writers say “I listening to
my character”, but that’s how it ended up happening. We could tell that
Hank and Manny needed each other more than Hank and Sarah ever did. We
just kept rewriting and rewriting, until we allowed them to fall in
love. And once we allowed ourselves to write that, that story really
started to grow and blossom into something worthwhile.